"the decision was taken to modify the east end of the main chapel and in 1968 it was installed there, where it now is. In June 1974 the painting was vandalised, with the letters ""IRA"" scratched on it. Adoration of the Magi (Rubens, Cambridge) The Adoration of the Magi is a c.1616-17 painting by the Flemish Baroque artist Peter Paul Rubens, now in King's College Chapel, Cambridge. The preparatory oil sketch for this painting is in The Wallace Collection, London. It was bought for a world-record price in 1959 by the property millionaire Alfred Ernest Allnatt and two years later"
"Adoration of the Magi (Dürer) The Adoration of the Magi is a 1504 oil-on-wood painting by Albrecht Dürer. It was commissioned by Frederick the Wise for the altar of the Schlosskirche in Wittenberg, and is considered one of Dürer's best and most important works from the period between his first and second trips to Italy (1494-5 and 1505). The second king is a selfportrait of Dürer .¨This painting was very influential for other Renaissance painters like Pieter Coecke van Aelst. In 1603 Christian II of Saxony presented the painting as a gift to the Holy Roman Emperor Rudolf II. It"
"Adoration of the Magi (Stefano da Verona) The Adoration of the Magi is a Gothic painting by Stefano da Verona. Dating to 1434, it is currently housed in the Pinacoteca di Brera of Milan, northern Italy. The work is signed (""Stefanus"") and dated, although this has been disputed by several scholars. It is however mentioned by Vasari in his ""Lives"", and was anyway painted by the artist between his return to Verona (1425) and his death (1438). In the 19th century it was owned by the Ottolini family of Verona, who ceded it to Domenico Biasoli. The latter sold it"
"Adoration of the Magi (Bosch, New York) The Adoration of the Magi is an oil painting on wood panel by Netherlandish artist Hieronymus Bosch, executed around 1475. It is housed in the Metropolitan Museum, New York, US. A prominent feature of this painting is the strong perspective effect and also the copious use of gold leaf which is not very typical for Bosch. The pigments employed are red lake, azurite, lead-tin-yellow and ochres. The precise authorship of this panel is and has been disputed, but in 2016 the Bosch Research and Conservation Project attributed it to Bosch based on evidence"
"Adoration of the Magi (Veronese) The Adoration of the Magi by the Venetian artist Paolo Veronese is a large oil painting on canvas dated to 1573 which has been in the National Gallery, London since 1855, shortly after it was sold by the Venetian church for which it was commissioned. It shows the common subject in the Nativity art of the visit by the Three Kings to the infant Jesus, here given a grandly theatrical treatment typical of Veronese's mature works. It was not an altarpiece, having been painted to hang beside rather than over a side altar in the"
"Adoration of the Magi (Filippino Lippi) The Adoration of the Magi is a painting by the Italian Renaissance painter Filippino Lippi. It is signed and dated at 1496. It is housed in the Uffizi of Florence. The panel was painted for the Convent of the San Donato agli Scopeti, in substitution of the one commissioned in 1481 to Leonardo da Vinci, who left it unfinished. In 1529 it was acquired by Cardinal Carlo de' Medici and in 1666 it became part of the Uffizi collection. Filippino Lippi followed Leonardo's setting, in particular in the central part of the work. Much"
"Adoration of the Magi (Gentile da Fabriano) The Adoration of the Magi is a painting by the Italian painter Gentile da Fabriano. The work, housed in the Uffizi Gallery in Florence, Italy, is considered his finest work, and has been described as ""the culminating work of International Gothic painting"". The painting was commissioned by the Florentine literate and patron of the arts Palla Strozzi, at the arrival of the artist in the city in 1420. Palla paid 300 florins for the altarpiece, or about six times the annual salary of a skilled labourer. According to Baldwin both Palla Strozzi and"
"Adoration of the Magi (Leonardo) The Adoration of the Magi is an early painting by Leonardo da Vinci. Leonardo was given the commission by the Augustinian monks of San Donato a Scopeto in Florence, but he departed for Milan the following year, leaving the painting unfinished. It has been in the Uffizi Gallery in Florence since 1670. The Virgin Mary and Child are depicted in the foreground and form a triangular shape with the Magi kneeling in adoration. Behind them is a semicircle of accompanying figures, including what may be a self-portrait of the young Leonardo (on the far right)."
"The Adoration of the Kings (Bruegel) The Adoration of the Kings is an oil-on-panel painting of the Adoration of the Magi by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1564, and now in the National Gallery, London. In the chronological sequence of Bruegel's work, this painting of 1564 marks an important departure as the first to be composed almost exclusively of large figures. The group of people, taken from Italian mannerist painters like Parmigianino, permits Bruegel to concentrate on individual faces, giving each a quite distinct, and sometimes grotesque, expression. This emphasis on the uniqueness of each"
"The Adoration of the Magi (Geertgen tot Sint Jans) The Adoration of the Magi is a circa 1480-1485 oil on panel painting of the Adoration of the Magi by the Renaissance artist Geertgen tot Sint Jans in the collection of the Rijksmuseum. ""The Adoration of the Magi"" shows the three magi bearing gifts. In the background the retinue of each of the three magi can be seen. The magi themselves are shown twice, once in the foreground and again in the background, arriving with their retinue from Africa, Europe and Asia. X-ray examination of the underdrawing shows that originally the"
"Adoration of the Magi (Perugino, Perugia) The Adoration of the Magi is a painting by the Italian Renaissance painter Pietro Perugino, housed in the Galleria Nazionale dell'Umbria of Perugia, Italy. According to Italian art historian Vittoria Garibaldi, it was one of the earliest commissions received by Perugino around the end of his apprenticeship in Florence (1472), while others date it to the late 1470s. The painting was originally executed for the church of Santa Maria dei Servi in Perugia, connected to the Baglioni family; in 1543 it was moved to the church of Santa Maria Nuova in the same city."
"Adoration of the Magi (Bosch, Philadelphia) The Adoration of the Magi is an oil painting on wood panel attributed to the workshop of Netherlandish artist Hieronymus Bosch, executed around 1499. It is housed in the Philadelphia Museum of Art, USA. The museum's catalog assign it to around 1518, as having been finished by Bosch's workshop. According to Dendochronologic research, it could have been painted in 1493-1499. The painting is a traditional representation of the Adoration of the Magi theme, similar to other Bosch ""Adoration of the Magi"" of New York, although reversed. Mary is at left, taking shelter under a"
"charcoal outline and marks clearly visible. The wood panels have also been restored, ensuring the stability of the work for generations to come. Adoration of the Magi (Leonardo) The Adoration of the Magi is an early painting by Leonardo da Vinci. Leonardo was given the commission by the Augustinian monks of San Donato a Scopeto in Florence, but he departed for Milan the following year, leaving the painting unfinished. It has been in the Uffizi Gallery in Florence since 1670. The Virgin Mary and Child are depicted in the foreground and form a triangular shape with the Magi kneeling in"
"Adoration of the Magi (Velázquez) The Adoration of the Magi is a 1619 Baroque painting by the Spanish artist Diego Velázquez now held in the Museo del Prado. It shows three kings presenting gifts to the Christ child: Melchoir, who kneels in the foreground; Balthazar, who stands behind him wearing a red cape and a lace collar; and Caspar, who appears between the other two. An unidentified young man who stands behind Balthazar is looking on. Kneeling near the Virgin's left shoulder is Saint Joseph. The size and format of the painting indicate that it was made for an altarpiece."
"Adoration of the Magi (Bosch, Madrid) The Adoration of the Magi or The Epiphany is a triptych oil painting on wood panel by the Netherlandish artist Hieronymus Bosch, executed around 1485-1500. It is housed in the Museo del Prado of Madrid, Spain. The work was once identified with a canvas executed for the Cathedral of 's-Hertogenbosch, Bosch's hometown. However, it is now considered more likely that this one is the painting owned by Jehan de Kassembrood which was seized by Fernando Álvarez de Toledo, 3rd Duke of Alba in 1567. The paintings contains the coat of arms of the Bronchorst,"
"in the underdrawing. <BR> Adoration of the Magi (Bosch, New York) The Adoration of the Magi is an oil painting on wood panel by Netherlandish artist Hieronymus Bosch, executed around 1475. It is housed in the Metropolitan Museum, New York, US. A prominent feature of this painting is the strong perspective effect and also the copious use of gold leaf which is not very typical for Bosch. The pigments employed are red lake, azurite, lead-tin-yellow and ochres. The precise authorship of this panel is and has been disputed, but in 2016 the Bosch Research and Conservation Project attributed it to"
"Museum. The Adoration of the Kings (Gossaert) The Adoration of the Kings is a large oil-on-oak painting by Jan Gossaert (born Jean Gossart, also known as Jan Mabuse), dated to 1510–15, depicting the Adoration of the Magi. Although Gossaert's name is signed on the border of Balthazar's richly embroidered headdress, and on a collar worn by Balthazar's turbaned attendant, the painting was occasionally attributed to Albrecht Dürer in the 17th and 18th centuries. In 2010, Ainsworth suggested that the work was a collaboration between Gossaert and Gerard David. In the centre of the painting, the Madonna and child sit in"
"remained in the imperial collection in Vienna until 1792, when Luigi Lanzi, the director of the Uffizi, acquired it in exchange for Fra Bartolomeo's """". Some art historians suggest that this painting could have been the central panel of the Jabach Altarpiece. <BR> Adoration of the Magi (Dürer) The Adoration of the Magi is a 1504 oil-on-wood painting by Albrecht Dürer. It was commissioned by Frederick the Wise for the altar of the Schlosskirche in Wittenberg, and is considered one of Dürer's best and most important works from the period between his first and second trips to Italy (1494-5 and"
"Adoration of the Magi (Lorenzo Monaco) The Adoration of the Magi is a tempera on panel painting by the Italian late Gothic artist Lorenzo Monaco, now housed in the Uffizi Gallery in Florence. The painting is known by a rather complete documentation. It was executed by Lorenzo with the help of three assistants, and, despite the reduced size, it was paid the huge sum of 182 florins. According to some hints in Giorgio Vasari's ""Lives of the Most Excellent Painters"", it could have been executed for the church of Sant'Egidio in Florence, when it was reconsecrated by Pope Martin V."
"The Adoration of the Kings (Gossaert) The Adoration of the Kings is a large oil-on-oak painting by Jan Gossaert (born Jean Gossart, also known as Jan Mabuse), dated to 1510–15, depicting the Adoration of the Magi. Although Gossaert's name is signed on the border of Balthazar's richly embroidered headdress, and on a collar worn by Balthazar's turbaned attendant, the painting was occasionally attributed to Albrecht Dürer in the 17th and 18th centuries. In 2010, Ainsworth suggested that the work was a collaboration between Gossaert and Gerard David. In the centre of the painting, the Madonna and child sit in the"
"Adoration of the Magi (Botticelli, 1475) The Adoration of the Magi is a painting by the Italian Renaissance master Sandro Botticelli, dating from 1475 or 1476, early in his career. The work is on display at the Uffizi in Florence. Botticelli was commissioned to paint at least seven versions of ""The Adoration of the Magi"". This version was commissioned by Gaspare di Zanobi del Lama for his funerary chapel in Santa Maria Novella. In the scene numerous characters are present, among which are several members of the Medici family: Cosimo de' Medici (the Magus kneeling in front of the Virgin,"
"Adoration of the Magi (Fra Angelico and Filippo Lippi) The Adoration of the Magi is a tondo, or circular painting, of the ""Adoration of the Magi"" assumed to be that recorded in 1492 in the Palazzo Medici Riccardi in Florence as by Fra Angelico. It dates from the mid-15th century and is now in the National Gallery of Art in Washington D.C. Most art historians think that Filippo Lippi painted more of the original work, and that it was added to some years after by other artists, as well as including work by assistants in the workshops of both the"
"similar to works by Leonardo da Vinci. Adoration of the Magi (Perugino, Perugia) The Adoration of the Magi is a painting by the Italian Renaissance painter Pietro Perugino, housed in the Galleria Nazionale dell'Umbria of Perugia, Italy. According to Italian art historian Vittoria Garibaldi, it was one of the earliest commissions received by Perugino around the end of his apprenticeship in Florence (1472), while others date it to the late 1470s. The painting was originally executed for the church of Santa Maria dei Servi in Perugia, connected to the Baglioni family; in 1543 it was moved to the church of"
"Adoration of the Magi (Perugino, Città della Pieve) Adoration of the Magi is a 1504 fresco by Perugino in the Oratorio di Santa Maria dei Bianchi in Città della Pieve. It shows the Adoration of the Magi, with an idealised view from Città della Pieve towards Lake Trasimene and Val di Chiana in the background. It is often compared to the ""Adoration of the Magi"" in the Sala delle Udienze del Collegio del Cambio in Perugia by Perugino and his studio, which includes areas argued by some art historians to have been painted by a young Raphael. It was commissioned"
"Adoration of the Magi (Garofalo) Adoration of the Magi is a 1530s oil on panel painting by the Italian renaissance artist Benvenuto Tisi in the collection of the Rijksmuseum. Mary sits with her child in front of ruined columns receiving gifts in a fantasy landscape. On the right a man points to the Star of Bethlehem. This painting has been considered a highlight of the collection since it was acquired in 1823 by William I of the Netherlands from the estate of Edmund Bourke in Paris and given to the Trippenhuis museum. It has been included in all ""Highlights of"
"Master of the Prado Adoration of the Magi The Master of the Prado Adoration of the Magi was a Netherlandish painter active between c. 1475 – 1500 whose identity is now lost. He is thought to have originated from the southern Netherlands and is known for his vibrant colourisation in panels depicting scenes from the infancy of Christ, he is thought to have been a pupil of Rogier van der Weyden, and is named after a copy of the ""Adoration of the Magi"" panel from that painter's ""St Columba Altarpiece"". Although the Magi became a popular topic for northern painters"
"Adoration of the Kings (David, London) The Adoration of the Kings by the Early Netherlandish painter Gerard David (c. 1460 – 1523) is a painting in oil on panel, probably from after 1515, now in the National Gallery in London (NG 1079). The painted surface measures some , and the panel is about larger in both dimensions. The panel comes from a dismantled altarpiece from which one other panel appears to survive, the ""Lamentation"" that is also in the National Gallery (NG 1078). The Adoration of the Magi is a common subject, which often represents the Nativity of Jesus in"
"the cracked wooden pillar of the hut or the Manna fall representation in Gaspar's sleeve. <BR> Adoration of the Magi (Bosch, Philadelphia) The Adoration of the Magi is an oil painting on wood panel attributed to the workshop of Netherlandish artist Hieronymus Bosch, executed around 1499. It is housed in the Philadelphia Museum of Art, USA. The museum's catalog assign it to around 1518, as having been finished by Bosch's workshop. According to Dendochronologic research, it could have been painted in 1493-1499. The painting is a traditional representation of the Adoration of the Magi theme, similar to other Bosch ""Adoration"
"the ""Adoration of the Magi"", 1423, in the Uffizi is regarded as one of the greatest works of the style known as International Gothic. At the time it was painted, another young artist, known as Masaccio, was working on the frescoes for the Brancacci Chapel at the church of the Carmine. Masaccio had fully grasped the implications of the art of Giotto. Few painters in Florence saw his sturdy, lifelike and emotional figures and were not affected by them. His work partner was an older painter, Masolino, of the same generation as Fra Angelico. Masaccio died at 27, leaving the"
"from whom a page is removing a crown. The general style is that of Filippino's late career, characterized by a greater care to details and by a nervous rhythm in the forms, influenced by the knowledge of foreign painting schools (as also in the landscape of the background). Adoration of the Magi (Filippino Lippi) The Adoration of the Magi is a painting by the Italian Renaissance painter Filippino Lippi. It is signed and dated at 1496. It is housed in the Uffizi of Florence. The panel was painted for the Convent of the San Donato agli Scopeti, in substitution of"
"Carl Justi praised ""Adoration of the Magi"" as being ""distinguished by great power of colouring and chiaroscuro."" The earliest record of this painting is from about 1764, when it was in the Jesuit Novitiate of San Luis, Seville. It was given by Ferdinand VII to the Museo del Prado in 1819. Adoration of the Magi (Velázquez) The Adoration of the Magi is a 1619 Baroque painting by the Spanish artist Diego Velázquez now held in the Museo del Prado. It shows three kings presenting gifts to the Christ child: Melchoir, who kneels in the foreground; Balthazar, who stands behind him"
"Adoration of the Magi (Ospedale degli Innocenti) The Adoration of the Magi is a painting by the Italian Renaissance master Domenico Ghirlandaio, executed around 1485-1488 and housed in the Ospedale degli Innocenti gallery in Florence, Italy. The predella, painted by Bartolomeo di Giovanni, is in the same site. On 28 October 1485 Francesco di Giovanni Tesori, prior of the Ospedale degli Innocenti, Florence's orphanage, signed a detailed contract with Ghirlandaio regarding the commission of an altarpiece for the high altar of the annexed church of Santa Maria degli Innocenti. The subject chosen was the Adoration of the Magi, a common"
"Adoration of the Magi (Andrea della Robbia) This depiction of the Adoration of the Magi is an altarpiece by Florentine sculptor Andrea della Robbia (1435–1525). Andrea inherited the family workshop from his famous uncle, Luca della Robbia, who had developed the technique of applying tin glazes, similar to those used by potters, to terracotta (fired clay) to produce sculptures that were colourful, durable and relatively cheap. Larger sculptures, such as this example which dates to about 1500–1510, were made in sections in order to fit into the kiln for firing. The scene is set in a landscape, showing the Three"